Stefan Myalonnier is a self-taught artist who considers drawing as a language in its own right, allowing him to share his feelings.

His works are never figurative, and he likes to play with abstract shapes, both geometric and organic, which he mixes according to his mood. The gesture can be controlled or, on the contrary, totally liberated, as long as a visual balance is established.

His first works, called "Études," led him to develop what he calls "Compositions." His graphic compositions, similar to choreographic scores, bring together gestural dynamics and structural constraints.

The line gives way to the curve and vice versa. In such dense and colorful arrangements, he ultimately offers personal living spaces where the eye can wander, or the mind can be hypnotized by the omnipresence of a movement in constant search of freedom.

The very structured nature of his drawings is animated by a rich chromatic range of nuances that reflects his current emotions.

For over 20 years, Stefan Myalonnier has developed a highly personal exploration of the medium of drawing, experimenting on a daily and instinctive basis with various supports and pictorial techniques.

This time of exploration and gestation has allowed him to gradually build his own graphic vocabulary and create a unique syntax. He uses the term "Étude" to name and group his different series of drawings.

With such a background, he now asserts a plastic production where his works are for him "an expression of oneself liberated from codes and constraints".

Far from any desire for illustration or to stop a figure beforehand, forms are drawn organically between appearance and disappearance as he works.

The dot gives way to the line to become a shape and finally be filled with color.

Stefan Myalonnier always proceeds in the same way. First, he practices drawing at home in his intimate space.

The table is filled with different pencils, pens, markers, and tracing tools. He arranges the backgrounds previously worked with pigments.

A format is then determined and cut. Then, in an unplanned manner, a first pen stroke gives birth to a structure that inhabits the sheet.

This is followed by a successive division of space that organizes the surface of the paper in a constant movement from macro to micro.

The forms can repeat, divide, interlock, and unfold to infinity at times.

Like aggregates, these graphic elements will correlate with each other to gradually form a territory that will come to life through color.

After a first phase of linear construction, the framework will be articulated and inhabited by intense chromatic ranges.

A dialogue is then established between these colors, where contrast and adequacy alternate to better rhythm the initial graphic composition.

Always with a gesture of great precision and a subtle balance between hue and nuance, Stefan Myalonnier tirelessly devotes himself to this coloring phase.

Although laborious, this step also offers a moment of non-thought, a time of meditation that the artist appreciates more than anything.

There is a certain satisfaction in seeing the sheet gradually covered with color, just as there is satisfaction in seeing the remaining pages of a book diminish as we read.

The denouement is always the same, an inevitable disappearance of all the white areas of the paper.

Once the drawing is finished, it comes to life within the space of the sheet.

Although the limits of the paper confine it to a certain format, it can easily be imagined extending outside, into the margins, and infinitely so. It then offers itself to a non-univocal observation, where the absence of a title leaves room for any possible reading. It is up to each person to seize it.

These graphic compositions are for the artist a reflection in expansion, whose path is made by rebounds and echoes to the rhythms of the drawn forms.

Of both simple and elaborate appearance, his drawings are in a way a visual transcription, a materialization of the complexity of thought.

In a constant quest for balance, each form contains a movement to create a subtle mixture of tensions.

From there, our gaze can follow these labyrinths of lines and curves, glide over these color fields, or jump from one point to another to travel or even get lost, as we sometimes do when we are lost in our thoughts.

2022 Benoît Billotte (artist, mediator)